Not only is the netting much stiffer this time around, I also made the petticoat longer and much fuller, using most of the material I had in order to achieve maximum floofiness. I cut strips of the netting so that each of the three tiers was double the width of the tier above it. The bottom tier is 13½ yards around! The middle tier is 6¾ yards, and the top tier is about 3½ yards around, gathered into a waistband of white polished cotton. I hand-stitched the entire petticoat, using the selvage of the material for a pre-finished hem. The waistband is top-stitched to look nice and tidy.

And then, after finishing the waistband, I came to a conundrum. How to close the waistband? I didn’t want anything lumpy or uncomfortable, and I wanted some flexibility in the circumference of the waistband. So I decided to use ribbons or tapes, stitched to each end of the waistband, to tie together. But alas! I had no simple white ribbons or tapes of an appropriate size in my stash, and I didn’t know when I’d have a chance to go to the store.

But then I ran across a bag of pre-finished turquoise satin ribbon bows. I’d bought them some time back at the Michael Levine’s Loft store in the Fashion District in Los Angeles, for a dollar or two, without any particular plan. After untying two bows and stitching them on as ties, I decided that the turquoise ties needed company – in the form of the application of many more bows to the petticoat. It makes for a slightly silly petticoat, but there’s something inherently silly about Really Fluffy Petticoats, so I just ran with it. Now my excellent petticoat is delightfully covered in turquoise bows!

This petticoat is satisfactorily fluffy for many things, though I still dream of going even fluffier, especially for evening wear. The netting I used here is excellent for the purpose, and I’m planning to go on the hunt for more like it at some point. I also want to try making a similar petticoat (possibly even wider?!) out of synthetic organza. Of course, silk organza would make a truly delicious petticoat, but I think that’s probably out of my price range for a while.

I made this petticoat of standard JoAnn’s nylon netting in an ivory color, using a hybrid of several different petticoat tutorials I found online. It’s pretty basic – three tiers of netting, each double the fullness of the one above, and gathered to it. I sewed it by hand, because I didn’t want to do battle with that much machine-gathering (I don’t trust machine gathering), especially using something as fussy as synthetic netting. Unfortunately, the petticoat really didn’t end up sufficiently fluffy, because the netting was fairly soft, and probably needed more yardage anyway. Clearly, my petticoat efforts needed to be far less modest in future if I was going to get the oomph I wanted.

Nevertheless, I did complete the petticoat, even after I discovered that it wouldn’t have as much floof as I wanted. I finished it with an ivory synthetic satin enclosed waistband. And it does have some floof, but in order to really manage proper 1950s style poofiness, I need several other petticoats with it. Still, it was a good learning experience. And it led me onward to my next floofy adventure: the 1950s style petticoat of stiff white netting trimmed with bows.

Inspiration: The availability of an inexpensive bonnet form with that darling downturned point at the top of the crown! I love the “Marie Stewart” shape. I am particularly fond of this extant cream silk fanchon bonnet with blue ribbon and fringe, accession number 47.1519, at the Museum of Fine Arts in Boston.
Form: Purchased reproduction buckram form from Timely Tresses, their “Wilhelmina Elizabeth” in the “Marie Stewart” shape appropriate for 1863-1867. It was not a terribly common style historically, but I’ve always loved it, and it isn’t inappropriate, just a trifle unusual.
Lining: White or ivory (or maybe very pale pink) silk taffeta or habotai
Ties and Ribbon Trim: Probably black silk, either taffeta or habotai, but possibly brocade if I find something promising.
Outer Trimmings: Probably a black ostrich feather or two, possibly some black silk satin ribbon, possibly a red artificial flower. I’ll revisit this later.
Trimmings Inside Brim: A frill of white or ivory silk organza
Thread: TBD
Construction: Linings and trimmings will be entirely hand-sewn, though I believe that the form itself is machine-stitched.
Current Status: This bonnet will not be included with my Div III. There’s simply too much to do, so I’ve been scaling back the 1860s pieces. But I plan on going forward with this particular project soon, quite possibly this summer.

A September 1864 plate shows four new styles of bonnets, at least one of which appears to be of the Marie Stewart shape, on page 66. A full scene plate of August 1865 has only one bonnet, but it is of a similar style to mine, on page 69. Two ensemble plates from October 1865 include bonnets of a similar style to mine, on page 70. (See below for more general bonnet references in this book.)

The early 1860s photograph (image 67) at the upper left of page 27 depicts a mother and small daughter, both of whom wear bonnets. The mother’s bonnet is a spoon shape with a slight dip at the top, while the daughter’s little bonnet has a very pronounced dip. The book’s text describes it as “heart-shaped,” but it is quite close to the Marie Stewart dipping point shape. The brim appears to be filled with a small frill.

Quotation from Harper’s Bazar, November 2, 1867, on page 8: “The ‘airy fairy’ fanchon, so long popular, is gradually being deposed by the much more stately Marie Antoinette bonnet, more in keeping with the picturesque costumes now worn.” Quotation from Harper’s Bazar, November 2, 1867, on page 8: “The fanchon still lingers with us in a slightly changed form. It used to be a matter of some doubt which was the front and which the rear of this bonnet. But as now worn with the Marie Stuart point still remains in front, while the back is shorn of its points, being entirely straight on the chignon.” Quotation from Harper’s Bazar, November 23, 1867, on page 29: “The fanchon is so universally becoming that all efforts to displace it have failed.”

There is also a very useful section of the book that pulls information on “Making Bonnet Frames and Bonnets” directly from Harper’s Bazar of May 9, 1868, on pages 210-220.

Terminology: Although the source for the assertion is not cited, page 80 states that “After the Civil War, milliners conceived smaller [than spoon bonnets], curtainless Empire and Fanchon bonnets as larger and more elaborate chignons were worn high on the head.”

Extant: There are four photographs on page 82 of an extant spoon bonnet of moderate size which is fully trimmed with the original decorations. The inside of the brim retains “the original fine ruched silk tulle,” which goes around the entire inside edge of the brim. There are also artificial flowers at the top of the inside of the brim.

The lower left period photograph on page 76 shows a woman in an early 1860s bonnet of a slightly different shape, with a dense frill of what appears to be a crisp, sheer silk all around the inside of the brim. The earlier, wider bonnet in the left photograph on page 78 also has a frill on the inside of the brim, but it also appears to have flowers at the sides. The tall spoon bonnet in the second photograph down on page 79 has a dense frill inside the brim, as well as a spray of flowers. The lower right photograph on page 91 has a tall spoon bonnet which dips in the middle, though not quite to the full point of the Marie Stewart style; inside the brim there are frills at the sides and large flowers at the top.

Introduction, pages 4-5. Spoon Bonnet, 1855-60, with “A frill of silk net and cream silk lace…inside the brim,” on pages 58-59. Fanchon Bonnet, 1865-70, of a slighter later variety than mine (smaller), but of a similar variety, with a slight Marie Stewart style dip at the front, on pages 64-65. Mourning Bonnet, 1865-70, a similar fanchon to the previous example, again with a slightly pointed dip at the front, on pages 74-75. Information on trimmings, specifically ribbons, with photographs, pages 34-35. Glossary, page 94.

Grayscale fashion plates images, with descriptive text, from May-December 1865 of a selection of bonnets of this style, including some of the Marie Stewart variety, pages 144-149. See entry below for information on this this book as a general bonnet resource.

The figure at left in Plate 31, of June 1864, wears a bonnet of the Marie Stewart shape. It is described (on page viii) as a “White crepe bonnet, with a fall of point lace over the brim à la Marie Stewart.” Other plates which show bonnets of a style similar to mine: January 1865, Plate 32; April 1865, Plate 33; March 1865, Plate 34; November 1865, Plate 35; May 1865, Plate 37. See below for more general bonnet references in this book.

A July 1861 plate offers the latest styles in millinery (three bonnets and one hat) with descriptions, on page 44. An August 1862 plate shows, among other things, two new spoon bonnet styles, with trimmings, on page 48. A full scene fashion plate of January 1864 includes two spoon bonnets, on page 57. A January 1864 plate depicting the back of a cape also shows the back of a bonnet, on page 59. A December 1864 full scene plate shows three spoon bonnets, two in side view and one back view, on page 64. A September 1864 plate shows four new styles of bonnets, at least one of which appears to be of the Marie Stewart shape, on page 66. A full scene plate of August 1865 has only one bonnet, but it is of a similar style to mine, on page 69. Two ensemble plates from October 1865 include bonnets of a similar style to mine, on page 70.

The photographs of dressed and posed mannequins sometimes have bonnets, but their details are not always readily discernible. However, several from around the early 1860s make appearances throughout pages 220-236.

While rather disorganized, this book pulls fashion and vast quantities of fashion information, including instructional articles, from original 1850s-60s ladies’ magazines; in this volume, all is about headwear. In addition to the section of 1865 bonnets in a style similar to mine, listed in the entry for this book above, there is a great deal of general useful information, and an immense array of images to look at for trimming and style inspiration. The section devoted to bonnets specifically is on pages 107-160

Full color fashion plates of complete ensembles, including bonnets: September 1862, Plate 28; November 1864, Plate 29; April 1864, Plate 30. See above entry for further references, to bonnets of a style specifically like mine.

Inspiration: My need for a charmingly enormous 1830s bonnet to go with my fashion plate gown; I’m not imitating any specific bonnet trimming styleForm: Purchased reproduction straw form from Timely Tresses, of ivory-colored hemp braid in their 1835-1840 Frivolia styleBrim Lining: White silk taffeta or habotai (which I still need to procure)Crown Lining: White cotton batisteTies and Ribbon Trim: Plaid silk taffeta in cornsilk yellow, dove gray, and white, purchased at Delectable Mountain Cloth, which I will cut into wide (6″ plus) ribbons and turn narrow hand-stitched hems on.Outer Trimmings: Puffing and possibly a bow of the plaid taffeta ribbon, one large white ostrich feather from Timely Tresses.Trimmings Inside Brim: Three bunches of white velvet lily and two bunches of ivory/yellow velvet violets from Timely Tresses (though I may move one of the bunches to the outside of the bonnet)Thread: TBDConstruction: Linings and trimmings will be entirely hand-sewn, though I believe that the form itself is machine-stitched.Current Status: I’ve ordered the form and trimmings, but currently all I have for this project is the fabric to be made into ribbons (which I’ve had for over a year, since I originally intended to make this bonnet as part of my 1830s clothing independent study). Since I’m using a straw form rather than buckram, as I’d originally intended, it should go together fairly quickly, so hopefully I can manage to finish my bonnet by my Div III final meeting – or at least by graduation!

There are schematic drawings of, and notes about, an extant bonnet on page 140; the bonnet is described as a “Large WHITE SILK BONNET; Trimmed white satin and pale blue ribbons” and appears to be the same bonnet as on pages 26-27 of Hats and Bonnets by Althea Mackenzie, where it is shown in photographs. Together, these sources offer a great deal of information about this bonnet, which is unusually well-preserved. Mackenzie dates the bonnet to the late 1820s. See entry for that book below for more information.

In the first section of image plates, following page 32: there is a photograph dated “Summer 1840,” of a woman in a late 1830s style large bonnet, either drawn silk or with a shirred silk lining, plate 3; there is also a photograph of “Queen Victoria’s going-away bonnet after her marriage on 10 February 1840,” plate 4.

“Chapter XXI. The Art of the Milliner, or the Mode of making Hats, Toques, &c.” encompasses pages 522 through 564. It offers a great deal of useful information, translated and edited from 1820s and 1830s sources. Included is detailed information on trim, such as how to make different types of bows and ribbon trimmings, and about different types of ornaments. There are very few images, and most are of 1820s hats, but this section is overall a useful informational reference.

The text on “Women’s Bonnets” is on pages 158-162, including hoods and a caleche (or calashe). The associated plate is plate 20. There is some useful information about how to go about lining, covering, and trimming a bonnet. There is also a section on “Straw Plaiting” at the end of the book, on pages 278-290. This book can also be accessed online, so direct links to pages and plates are included.

Note: Futher information on the late 1820s silk-covered bonnet is available on page 140 of Nancy Bradfield’s Costume in Detail. There are schematic drawings of, and notes about, an extant bonnet; the bonnet is described as a “Large WHITE SILK BONNET; Trimmed white satin and pale blue ribbons” and appears to be the same bonnet as on pages 26-27 of Hats and Bonnets by Althea Mackenzie, where it is shown in photographs. Together, these sources offer a great deal of information about this bonnet, which is unusually well-preserved.

Full color fashion plates of complete ensembles, including bonnets, 1838-1840: plates 2-5, of which 2 and 3 are both double plates. Plate 6 is also dated 1840, but only evening styles, with evening headdresses, are pictured; there are no bonnets.

The plate shown on page 8 and described on page 9 is dated to c. 1842, but the style of the clothing is quite similar to fashions of the late 1830s, including the large bonnet, so it is useful for reference. The bonnet’s wide ribbon ties are left untied.

Two extant 1830s straw bonnets are shown on mannequins in 1830s gowns, page 34. Extant wedding bonnet of “cream silk with cream crêpe trimming and artificial lilacs 1835-39” shown on a table in a period room, along with a dummy head and a “milliner’s wooden delivery box 1820-50,” pages 87-88. Presumably the same wedding bonnet, shown with a veil, on a mannequin in an 1837 wedding dress, page 91.

This book is less likely to be useful, since it is geared for making hats more-or-less contemporary to the 1960s publication date. However, there is some good general information about materials and techniques.

Online resources, specifically collection photographs of extant bonnets:
(I have organized these roughly chronologically, based on the overall shape. As nearly as I can tell, the angle of the crown related to the brim, at the top, started out fairly acute with early bonnets of the regency era and 1820s, often around a right angle – more like a hat – and around the middle of the 1830s became gradually more obtuse [yes, geometry is relevant to bonnets!], eventually smoothing out completely in styles of the very late 1830s and the 1840s, including the “coal scuttle” bonnet.)

A straw bonnet, dated “about 1830,” at the Museum of Fine Arts in Boston, accession number 46.688

A straw bonnet, dated “circa 1830,” in the Old Sturbridge Village collection, accession number 65.1.18

A silk brocade-covered bonnet with a more obtuse angle, dated “second quarter of the 19th century,” at the Museum of Fine Arts in Boston, accession number 50.3222

A bonnet of what appears to me to be fine straw braid, but which the museum lists as having the materials “paper, silk,” dated “1830-35” but which appears to be more 1835 (or possibly later) than 1830 to me, at the Metropolitan Museum of Art, accession number 1996.267

Note: this is only a possibility. I need to check on whether cuffs were worn/required for this period, and for this style of dress. If I don’t need them, I probably won’t make them initially. If they’re optional, I’ll probably plan on making a pair later.

These stays actually made it all the way through second mock-up and massive quantities of research and planning before I ran out of time during my Div III, and sadly, I haven’t gotten back to them yet. But soon, I’ll post my research.

By Ava Trimble

I'm a historian of domestic life, clothing, and needle arts, working on my M.A. in public history at New Mexico State University. I like making connections between cultural history, social history, material culture, and (dare I say it?) experimental archaeology. I believe in studying the history of clothes, sewing, and housework with as much intellectual rigor as any other aspect of history, and I have a vendetta against polyester reproduction garments in museum exhibits.

Join me as I research obscure stitching techniques, strive to create obsessively accurate reproduction clothes, and opine at length about the comfort and functionality of various iterations of undergarments.